Who does Pete Doherty think he is? Marc Bolan? Ray Davies? Scott Walker? Captain Beefheart? These influences and various others were all on show at Doherty’s show on Thursday night. But while he may draw on the past for his inspiration, what he makes of them is entirely his own.

There’s been speculation that turning 30 and perhaps considering his own mortality for the first time has made Peter – as he now apparently wants to be known – focus a little harder on his career.

Whatever the reason, there is certainly a more grown-up feel to the man and his work. Proof of this came when he was hit squarely by a pint of beer thrown from the audience. Instead of jumping into the crowd, as he has been known to do when provoked in the past, he muttered something about “being professional” and continued with the song.

In addition to Babyshambles drummer Adam Ficek and bassist Drew McConnell, he was joined on Thursday night by acclaimed producer Stephen Street, acoustic guitarist John Robinson and various other musicians who flitted on and off stage.

Support act, Scottish singer-songwriter Dot Allison, also joined him for a track, and a three-piece string section – which looked as if it had been teleported from the deck of a sinking Titanic – added further polish to an already sophisticated sound.

One reason for the heavyweight line-up is to accurately reproduce his highly- rated solo album Grace/Wastelands. More ambitious in scope than anything Doherty has produced so far, the material has a confidence and swagger which reflects his new lease of life. It also confirms Doherty’s huge, if capricious, talent.

Among the highlights were Arcadie, Last Of The English Roses and current single A Little Death Around The Eyes. Those hoping for a greatest hits show would have been disappointed.

But he wheeled out a few old classics in the shape of The Libertines’ Music When The Lights Go Out and What A Waster and Babyshambles’ Albion and Lost Art Of Murder.